Rise of guardians movie review

Based on the books by author/illustrator William Joyce, RISE OF THE GUARDIANS follows Jack Frost (voiced by Chris Pine), a carefree immortal figure who creates winter fun for children who don't really believe in him. Everything changes when Pitch Black (Jude Law) rallies his nightmare forces to cause worldwide despair and make children stop believing in the Guardians of Childhood: Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman. When the Man in the Moon tells the existing Guardians that Jack Frost has been chosen to join them, they must convince him to take up the cause before Pitch can snuff out the light of hope in every child of the world.

Rise of the Guardians (not to be confused with Legends of Guardians: The Owls of Ga'Hoole) is an exquisitely crafted 3-D adventure with an ingenious plot and surprisingly substantive messages that make it just as appropriate for tweens/teens who are still into animation as for younger elementary-aged audiences. The voice performances are all fantastic. Baldwin is hilarious (and nearly unrecognizable) as a tough, tattooed Santa who can wield two swords one moment and play with his workshop's toys (made not by elves but by yetis!) the next. The Easter Bunny (Jackman, for once using his native Aussie accent) is a strapping buck rabbit (but never call him a kangaroo), and Fisher's Tooth Fairy is lovely and amusingly obsessed with teeth.

As the contemplative Jack Frost, Pine nearly reprises some of the characteristics of his young Captain Kirk in Star Trek -- both characters are impulsive loners who don't know how to work on a team until they come into their own and spring into action. The movie's visuals are dazzling (especially in each of the Guardians' headquarters), the dialogue funny, and the threat from the villain real and disturbing (and wow, Law has a creepy accent). It's such a refreshing treat to see an animated film so thoughtfully made that didn't come from Pixar. Director Peter Ramsey has made an impressive, imaginative fantasy where the wonder of childhood reigns supreme.

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Hotel Transylvania movie review

More than a century ago, a grieving Dracula (voiced by Adam Sandler) decided to build a human-proof castle called HOTEL TRANSYLVANIA, where monsters could stay and -- more important -- he could raise his half-vampire, half-human daughter Mavis (Selena Gomez) without exposing her to the danger of humans. Fast forward to the present day, and Mavis is turning 118 (but looks 18), and "Drac" has planned a huge birthday celebration. As the hotel fills with Mavis' many monster aunties and uncles -- like werewolf Wayne (Steve Buscemi), Frankenstein (Kevin James), Mummy Griffin (Cee-Lo Green), and the Invisible Man (David Spade) -- an unexpected visitor arrives in the form of 21-year-old Jonathan (Andy Samberg), a solo backpacker who somehow stumbles across the supposedly untraceable castle. Not wanting to alarm his guests, Drac puts Jonathan in costume and forces him to pretend that he's Frankenstein's younger cousin. What Dracula doesn't count on is Mavis and Jonathan falling for each other.

  

Although its premise is much better than the execution, Hotel Transylvania is just palatable enough to tolerate for parents. Little kids too young for the genuine spookiness of Monster House and ParaNorman will particularly enjoy how harmless the monsters are (save for Dracula's occasional rage face) and how sweet the relationship is between Dracula and his daddy's girl, Mavis. Gomez is well-cast as a naive adolescent daughter who just wants a chance to discover the world beyond the hotel, and Samberg is like a young Sandler as the bumbling-but-sweet human who ends up stealing not only Mavis' heart but befriending an entire circle of monster pals.

That's not to say that there aren't some issues with Hotel Transylvania; a Pixar masterpiece it's not. The word "zing" (as in the romantic spark between couples) quickly becomes tedious, as do some of the repetitive jokes about the werewolf cubs' poop and the Bride of Frankenstein's hen-pecking (she's voiced by Fran Drescher, of course). But despite the tiny missteps, kids -- and they, after all, are the movie's target audience -- will relate to Mavis, laugh at Dracula and his friends, and be completely invested in this monster mash of an animated comedy.

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Paranorman Movie review

Coraline was good, but Laika’s new stop-motion animation marvel ParaNorman takes it to another level. Their first zombie animation knows how to add warmth to the proceedings and make its moral lessons stronger by helping the viewers arrive at their own conclusions rather than pushing clichéd values down their throats.

Norman Babcock (Kodi Smit-McPhee), the cutest antihero ever, speaks to dead people and pets (to great comic effect, at times). His caring Grandma (wonderful Elaine Stritch), who’s been dead for a while, is his only true friend – she knows very well she has to keep an undead eye on him since he is treated as a ‘freak’ by everybody else around him.

His parents (Jeff Garlin and Leslie Mann) constantly fight over his embarrassing paranormal skills while the town is about to get infested with zombies because of an ancient curse. Norman has to stop the witch who promised to wake the walkers but she turns out to be a little girl who was brutally murdered for being a kid different from the crowd – some 300 years before. Norman has to learn to break his way through her rage and save the townspeople, who aren’t much help at all.

Childhood the best of times?

ParaNorman paints the world of childhood as a dark kingdom of horror and ugliness. Every living creature (except the dead ones) is the vision of spastic, useless cruelty. His sister is a mindless phony. The kids at school are stupid bullies who misspell hateful nicknames. The neighbours look like they’d burn him at the pole – gladly. His parents are of no help: at one point Norman is talking to a belly and a bottom (his mother and father, as seen to us from his perspective).

His dad is the biggest bully of all. The abuse he inflicts is the kind of abuse that may leave scars for life. At least those are complete strangers in his school and in the street – they don’t have to love Norman; seeing his own father reject the very essence of him (his supernatural gift) is heart-breaking. No one coming out of ParaNorman will say sweetly that childhood as one’s ‘best years’ – and I would like to especially thank writer/director Chris Butler and director Sam Fell for shooting that idiotic cliché right through its dead head.

ParaNorman gets subversive quickly. We are not afraid of the zombies eating the children, we are afraid of the parents burning the children alive. Surviving in the midst of ugly (in and out) adults like the monstrous Teacher (with her green mask, she is almost indistinguishable from zombies) and the angry, blood-thirsty mob is no easy feat. Norman is the last boy standing – and it’s not the best way to learn about the world when you are a kid.

On the fun side, ParaNorman is a crazy fiesta of vibrant colours and amazing imagery. Norman looks like a child top model with his huge asymmetric eyes, crooked nostrils and Will Smith ears, which light up like overweight fireflies when the sun shines through them. His room is a haven of zombie paraphernalia – from wallpaper and bedcover to nightlight and slippers, all in the most eye-popping, juicy hues.

The whole idea of the zombie apocalypse hasn’t been so reinvented and turned upside down since Danny Boyle’s 28 Days Later as it is in ParaNorman. The zombies (slow again) possess intelligence (and sometimes make more sense than humans), communicate with each other and are basically ‘good’ despite smelling terribly and groaning all the time. The focus here is on psychological horror and the intertextual fright potential of the zombie metaphor (we know they might be a threat, so we are scared – just in case).

Verdict: A movie about a bullying epidemic that is like a zombie one (once bitten the virus begins to spread, where former victims become aggressors) couldn’t be timelier. It’s beautiful. It’s very funny. It startles and scares. And it teaches us not to fear. What’s not to love?

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